DOCSLIB.ORG

Menotti's Use of Dramatic Impact in the Medium T Hesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Menotti's Use of Dramatic Impact in the Medium T Hesis fy 4i MENOTTI'S USE OF DRAMATIC IMPACT IN THE MEDIUM T HESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Jimmy Tompkins, B. M. Denton, Texas August, 1968 TABLE OF CONTENTS Page LIST OF TABLES......... .................... LIST OF ILLUSTRATI ONS ....................... Chapter I. INTRODUCTI)N........................................1 II. CONCEPTS OF MENOTTIS MUSIC DRAMA..................7 III. DRAMATIC RECITATIVE IN THEMEDIUM...............12 The Structure of The Medium Symbols for Analysis of Dramatic Recitative Analysis of Dramatic Recitative IV. THE USE OF LEITMOTIFS IN THE MEDIUM...............27 Fear Leitmotif Spirit Leitmotifs Grief Leitmotif Hope Leitmotif Baba Leitmotif Monica Leitmotif Love Leitmotif Toby Leitmotif V. THE USE OF TONALITY IN THE MEDIUM................105 The Tonality of Leitmotifs in The Medium VI. CONCLUSIONS.............oo...................120 APPENDIX..................................................126 BI BLI OGRAPHY..........................................17 1 iii LIST OF TABLES Table Page I. Individual Totals of Recitatives Used in The Medium -. - 0-a-0-0-0-0-0-a- - 0-0-0-a. 0.0-0- 15 II. Individual Totals of Recitatives Used in Sections of Dramatic Recitative . 24 III. Moods and Forms Within Sections of Dramatic Recitative . 26 IV. Uses of the "Fear" Leitmotif in Conjunction with Text or Stage Action in Act I of The Medium . 41 V. Melodic Uses of the "Fear" Leitmotif in The Medium - . -. 55 VI. Rhythmic Uses of the "Fear" Leitmotif in The Medium . 58 VII. Uses of the "Spirit Leitmotif I" and "Spirit Leitmotif II" in Conjunction with Text or Stage Action in Act I of The Medium . 66 VIII. Melodic Uses of "Spirit Leitmotifs I and II" in The Medium . .*.*. .. 0** . .. .77 IX. Uses of the "Grief" Leitmotif in Conjunction with Text or Stage Action in The Medium . 81 X. Uses of the "Hope" Leitmotif in Conjunction with Text or Stage Action in The Medium . 85 XI. Melodic Uses of the "Hope" Leitmotif in The Medium . 90 XII. Uses of the "Baba" Leitmotif in Conjunction with Text of Stage Action in The Medium . 93 XIII. Uses of the "Monica" Leitmotif in Conjunction with Text or Stage Action in The Medium . 96 iv Table Page XIV. Uses of the "Toby" Leitmotif in Conjunction with Text or Stage Action in The Medium . 101 XV. Individual Percentages of Tonal Centers and Indefinite Tonality in Act I of The Medium . 103 XVI. Individual Percentages of Tonal Centers and Indefinite Tonality in Act I of The Medium . 110 XVII. Individual Percentages of Tonal Centers and Indefinite Tonality in Act II of The Medium . 111 XVIII. Tonality of Concentrated Areas of Leitmotifs in The Medium . ....... .116 V LIST OF ILLUSTRATIONS Figure Page 1. "Where, Oh Where"--Monica, Act I, p. 2 . ..18 2. "1 Shall Be Your Servant"--Monica, Act I, p. 5 ..18 3. "It Happened Long Ago"--Mrs. Gobineau, Act I, p. 17 .0.*.0.*.*.#.a.0.0.0.a.0.0 . 19 4. "Mummy Dear".--spirit voice, Act I, p. 27 .*. 20 5. "Black Swan"--Monica and Baba, Act I, p. 48 21 6. "Dance the Waltz"--Monica, Act II, p. 60 . 21 7. "Monica, Monica"--Monica, Act II, p. 63 .. 22 8. "Madame Flora," Act II, p. 88 . 23 9. "Afraid, Am I Afraid?"--Baba, Act II, p. 102 23 10. "Fear" Leitmotif, Act I, Measures 102 (a) Treble Portion of the Leitmotif 28 (b) Bass Portion of the Leitmotif ..28 . 11. Diagrams of Complete "Fear" Leitmotifs . 29 12. "Fear" Leitmotif, Act I, Measures 23-24 .. 32 13. Segments of the "Fear" Leitmotif (a) Original . 33 (b) Variation of Original . 33 (c) Inversion of Original . 34 (d) Variation of Inversion . 34 vi Figure Page 14. Ground Bass Figures Used with the "Fear" Leitmotif (a) Ground Bass . 35 (b) VariationI -1.,- .. -* - -a-35 (c) VariationII .-.-.--- -*-.-* 35 (d) Variation of1II -..- 4-* 35 15. The "Fear" Motif (a) Rhythm of the Treble Figure (Fig. 10). - 37 (b) Rhythm of the Bass Figure (Fig. 10) - - 37 16. The "Fear" Motif (a) Original Rhythm . -38 (b) Variation I . 1. - - . - . - - - - 38 (c) Variation II . 38 17. The "Fear" Motif (a) Original Rhythm . 8 (b) Segment of the Rhythm . 38 18. The "Fear" Motif (a) Ground Bass Rhythm . 39 (b) Segment I . 39 * - 39 (c) Segment II . - - - - - . 19. Melodic and Rhythmic Uses of the "Fear" Leitmotif (a) Act I -. 49 (b) Act II . -.--.-.-. -. -. - 50 vii Figure Page 20. Concentrated Areas of "Fear" Leitmotifs (a) Act I - - . - - - - - - . - . - . 52 (b) Act I11 0 - - - - - -- - - .53 21. "Spirit Leitmotif I," Measure 2 After 18 . 62 22. "Spirit Leitmotif II" (a) Basic Leitmotif, Measure 5 After 1 . 64 (b) Variation, Measure 1 After 24 . 64 (c) Inversion, Measure 8 After 37 . 64 23. Melodic Uses of "Spirit Leitmotif I" and "Spirit Leitmotif II" (a)2Act.ConcntrateAreas. "Spirit" Leitm70 * 71 (b) Act II . 24. Concentrated Areas of "Spirit" Leitmotifs (b) Act IIo . 74 25. The "Grief" Leitmotif, Act I, Measures 6-8 after 13 (a) Antecedent Portion of the Leitmotif . .78 (b) Consequent Portion of the Leitmotif . .78 26. Melodic Contours of the "Grief" Leitmotif (a) The Original Contour, Act I Measure 6 After 13 . ..... 79 (b) A Variation of the Melodic Contour, Measure 7 in ActII . 79 viii Figure Page 27. Rhythmic Forms of the "Grief" Leitmotif (a) Original Rhythm, Act I, Measure 6 After 13 . 80 (b) Variation I, Measure 6 in Act II . 80 (c) Variation II, Measure 8 in Act II . 80 28. Melodic Uses of the "Grief" Leitmotif (a) Act I1 .0 .0.4.0. .*.0.6. 0.0. a.0.0. 82 (b) Act II . .0 .0 .a .# .a .&.0 .0.0. 83 29. The "Hope" Leitmotif, Act I, Measure 1 After 20 . 84 30. Melodic Contours of the "Hope" Leitmotif (a) Original Contour.. ..... 84 (b) Variation I of the Contour . 84 (c) Inversion of the Contour . .84 31. Melodic Uses of the "Hope" Leitmotif (a) Act I . * . * 89 (b) Act II . o. .*.0.0.a.a.0.6.0.*.0.0.0.89 32. The "Baba" Leitmotif, Act I, Measure Before 5 . 91 33. Uses of the "Baba" Leitmotif in Act II . 94 34. The "Monica" Leitmotif, Act II, Measure 5 After 2 . .... 95 35. Uses of the "Monica" Leitmotif in Act II . 97 ix Figure Page 36. The "Love"Leitmotif (a) Basic "Love" Leitmotif, Act II, Measure 8, After 4 . .98 (b) Variation of the "Love" Leitmotif, Act II, Measure 10 After 4 . 98 37. Uses of the "Love" Leitmotif in Act II . 99 38. The "Toby" Leitmotif, Act II Measures1-3 After 4 ... ... 100 39. Uses of the "Toby" Leitmotif in Act II . 102 40. Tonal Centers Used in The Medium (a) Act I . a . a a . a 107 (b) Act II . a a . a . a . a a a a a a 108 41. Locations of Bb Tonality and Leitmotifs Used in Conjunction with Bb Tonality in Act II . 119 42. Master Graph I--Uses of Recitatives . a a a a . 127 43. Master Graph II--Uses of Leitmotifs . a a . a a 139 44. Master Graph III--Uses of Tonal Centers . a 159 x CHAPTER I INTRODUCTION In the history of the American lyric theater, the opera composer who has commanded the greatest amount of attention in this country, and whose works have been the most consist- ently successful is Gian Carlo Menotti. Employing a unique fusion of music and drama, Menotti achieves a dramatic inten- sity and clarity unsurpassed by any other American composer. His has been the greatest single contribution to this branch of our musical art. 2 Born at Cadegliano, Italy, on July 7, 1911, Gian Carlo Menotti was the sixth of ten children. Having learned the rudiments of music from his mother, he began composing as a child and at the age of ten years attempted his first opera, lMenotti terms his works "music dramas" rather than "operas" (this subject is discussed in Chapter II); however because -most sources used in this introduction use the term "opera" rather than "music drama," the term "opera" has been used throughout the introduction. 2 Howard Groth, "Gian Carlo Menotti and the American Lyric Theatre," The Bulletin of National Association of Teachers of Singing,, Inc., XV (December, 1958), 16. 1 2 La Morte di Pierrot. At the age of sixteen, after several years of study at the Milan Conservatory, Menotti came to the United States to study composition with Rosario Scalero at the Curtis Institute in Philadelphia. It was here on April 11, 1937, that his first complete one-act opera, Amelia al Ballo, was performed. The work was later performed in New York; and on March 3, 1938, it reached the stage of the Metropolitan Opera House, where its reception confirmed the appearance of a new talent in the American lyric theater.3 After completing his musical training at the Curtis Institute, he strove to relate his skills more closely to his American environment by writing his next opera in English (his earlier works were written in Italian). This comic opera, The Old Maid and the Thief, was commissioned by the National Broadcasting Company for radio performance in 1939, and it later proved equally successful on television.4 He then changed to tragedy, rather less successfully, with The Island God (one act), which was produced by the Metropolitan 3 Theodore Baker, "Menotti, Gian Carlo," Baker's Bio- graphical Dictionary of Musicians, 5th ed. (New York, 1958). 4 Gilbert Chase, "The Operas of Menotti," America's Music (New York, 1955), p. 648. 3 Opera Company in 1942.5 A few years later he was commissioned by the Alice M. Ditson Fund of Columbia University to write an opera. The result was a work that made him famous: the musical tragedy in two acts titled The Medium, produced at the Brander Mathews Theater on May 8, 1946.
Load more

Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Jacob Lassetter, Baritone
    JACOB LASSETTER, BARITONE With his powerful voice and commanding stage presence, baritone Jacob Lassetter enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality. In June 2021 Mr. Lassetter is excited to make his role and company debut as Scarpia in Tosca with Marble City Opera. Earlier in the 2020–2021 season he sings a solo recital of British composers and benefit concerts for both Winter Opera Saint Louis and Union Avenue Opera. Mr. Lassetter was scheduled to make his role and company debut as the title role in Der fliegende Holländer with Mid Ohio Opera, as well as a return to Italy for performances of the title role in Elijah, as soloist for Mozart’s Mass in C Minor, and various other concerts. These engagements were all unfortunately cancelled due to COVID-19. In the 2019–2020 season Mr. Lassetter sang Sonora in La fanciulla del West with Winter Opera Saint Louis, and both Schubert’s Winterreise and Argento’s The Andrée Expedition in recital. In the 2018–2019 season he sang Dr. Falke in Die Fledermaus with Winter Opera Saint Louis, Carmina Burana with the Washington University Symphony Orchestra, Verdi’s Requiem and A Symphony of Toys with The Missouri Symphony, Dick Deadeye in H.M.S. Pinafore and Il Gran Sacerdote in Nabucco with Union Avenue Opera, and a series of three recitals with St. Louis Art Song. Opera audiences have recently seen Mr. Lassetter as Sharpless in Madama Butterfly with Annapolis Opera, Wolfram in Tannhäuser with Apotheosis Opera (New York City), Peter in Hänsel und Gretel with Union Avenue Opera, and Rodrigo in the world premiere of Borgia Infami with Winter Opera Saint Louis.
    [Show full text]
  • 15, Mezzo-Soprano Denes Van Parys, Piano
    SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice
    [Show full text]
  • April 2008 in This Issue
    The Sacred in Opera April 2008 In this Issue... Ruth Dobson For the next two editions of the SIO newsletter, we are taking an in-depth look at one-act Christmas operas which can be easily produced and are appropriate for both children and adults. This issue we will profile Amahl and the Night Visitors, Only a Miracle, St. Nicholas, Good King Wenceslas, and The Shepherd’s Play. The next issue will highlight The Christmas Rose, The Greenfield Christmas Tree, The Finding of the King, The Night of the Star, and others. Thanks to Allen Henderson for sharing his insight into a triology of operas by Richard Shephard, Good King Wenceslas, The Shepherd’s Play, and St. Nicholas, with us in this issue. As great as Amahl and the Night Visitors is, there are these and other works waiting to be discovered by all of us. We hope you will find these suggestions interesting. These operas vary in length from 10 minutes to an hour, and can be presented alone or paired with others. Amahl and the Night Visitors is almost always a successful box office draw. Pairing it with a lesser known work could make for a very enjoyable afternoon or evening presentation and give audiences an opportunity to enjoy other equally wonderful works. Several of these operas use children as cast members, while others call for only adult performers, but all have stories appropriate for children. They are written in a variety of styles and have very different production requirements. Producers would need to take into consideration the ages of the children that are the target audience.
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
    NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
    [Show full text]
  • Thomas Hampson, Baritone
    Monday, May 3, 2021 | 3 PM Livestreamed from Gordon K. and Harriet Greenfield Hall and William R. and Irene D. Miller Recital Hall MASTER CLASS & LIVE WEBCAST Distinguished Visiting Artist for Vocal Studies and Distance Learning Thomas Hampson, baritone PROGRAM WOLFGANG AMADEUS “Dove sono i bei momenti” from Le nozze di Figaro, K. 492 MOZART (1756–1791) RICHARD STRAUSS “Wasserrose” from Mädchenblumen, Op. 22 (1864–1949) Jasmine Ismail, soprano Winston Salem, North Carolina Student of Ruth Golden Travis Bloom, piano NED ROREM Emily’s Goodbye Aria from Our Town (b. 1923) HARRY THACKER “Worth While” from Five Songs of Laurence Hope BURLEIGH (1866–1949) RICHARD STRAUSS “Cäcilie,” Op. 27, no. 2 Evangeline Ng, soprano Singapore Student of Joan Patenaude-Yarnell Fumiyasu Kawase, piano GEORGE FRIDERIC “È gelosia” from Alcina, HWV 34 HANDEL (1685–1759) GUSTAV MAHLER “Wenn mein Schatz Hochzeit macht” from Lieder eines fahrenden Gesellen (1860–1911) Yile Huang, mezzo-soprano Inner Mongolia, China Student of Maitland Peters Tongyao Li, piano FRANZ SCHUBERT “Erlkönig,” Op. 1, D. 328 (1797–1828) WOLFGANG AMADEUS “Tutto è disposto… Aprite un po’quegli ochi” from Le nozze di Figaro, K. 492 MOZART Michael Leyte-Vidal, bass-baritone Palmetto Bay, Florida Student of Ashley Putnam Travis Bloom, piano Alternates WOLFGANG AMADEUS “Ah, chi mi dice mai” from Don Giovanni, K. 527 MOZART HENRI DUPARC “Au pays où se fait la guerre” (1848–1933) Sarah Rachel Bacani, soprano Toms River, New Jersey Student of Cynthia Hoffmann Travis Bloom, piano TEXT AND TRANSLATIONS “Dove sono i bei momenti” from Le nozze di Figaro E Susanna non vien! Sono ansiosa di saper Susanna does not come! come il Conte accolse la proposta.
    [Show full text]
  • SOME AMERICAN OPERAS/COMPOSERS October 2014
    SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny .
    [Show full text]
  • Nita Ann Hudson, Mezzo Soprano School of Music Stephen F
    Nita Ann Hudson, mezzo soprano School of Music Stephen F. Austin State University Nacogdoches, Texas Education Master of Arts Stephen F. Austin State University, 1993 Major in Music with Vocal Pedagogy Emphasis Bachelor of Music Stephen F. Austin State University, 1990 All-Level certification in Choral Music Applied Voice Richard Berry Vocal Pedagogy David W. Jones Richard Berry Choral Conducting Ronald Anderson Tim King Theory/Composition Richard Coolidge Dan Beaty Dance Deborah Waddell-Sanford Teaching Teaching Positions: Stephen F. Austin State University, Nacogdoches, TX: 1993 – Present Lecturer – Applied Voice, Opera Workshop, Vocal Repertoire, Theory, Aural Skills East Texas Baptist State University, Marshall, TX: 1994 – 2002 Instructor – Applied Voice Related Work Experience: Assistant Director/Production Stage Manager, SFASU Opera Workshop: 1993 - Present Assignment includes various aspects of stage directing, production and choreography. Coordinate all rehearsal and production schedules for faculty, students, orchestra, and technical crews. Responsible for maintaining the correct blocking (prompt book) and all technical cues (scenic/lighting/sound). Assist the directors (staging/musical) in every aspect of production. Operas/Operettas: Albert Herring (Britten) 1993 Amelia Goes to the Ball (Menotti) 1995, 2001 Bartered Bride (Smetana) 1995, 2000, 2008 Calvary (Pasatieri) 1994 Carmen (Bizet) 1994, 2000 Cavalleria Rusticana (Mascagni) 1994, 2009 The Consul (Menotti) 1994, 2001 Elixir of Love (Donizetti) 1999 [Directed], 2004 Falstaff
    [Show full text]